Through Döbereiner’s intervention, the walls of the exhibition space are transformed into screens, made virtual; they open up into the imaginary and, to the contemporary viewer, become transparent. This corresponds to the virtual nature of all of Döbereiner’s installations, which exist as digital blueprints in a pool of drawings in her computer and are later altered and printed for a concrete exhibition site. This process of transformation generates a new, imaginary space that is superimposed over the existing architecture of the exhibition room. Döbereiner’s drawing construction turns the classical interior element of wallpaper into a projection surface, tapping into the architecture’s phantasmagorical core in order to activate the viewer’s power of imagination. Döbereiner’s strategy proves to be a necessary operation that saves this effect over the distance of time by peeling off the visible surface like a layer of dead skin.

Döbereiner’s work thrives on the endless combinatorics of the digital universe of dots as well as on its own subjective approach to it. Its smallest common denominator, however, is drawing; it is the means with which the artist illuminates the conditions of seeing in the age of the “iconic turn.” Her contours record the afterglow that the plethora of media and everyday images flooding us each day leave behind on the retina—shortly before they are extinguished, rewritten.

Her first solo exhibition at Vincenz Sala Berlin takes the movie "Welt am Draht" from Rainer Werner Fassbinder with that very special architecture and Camera views for her basic idea of the wall covered drawings.